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Before discussing the "Ballet of Iran", it is necessary to emphasize the fact, often not at all clear that Iran is linguistically, culturally and ethnically distinct from its Arab neighbors, even in the dance, the similarities of the Persian style should therefore be sought among the non-Arab peoples of the Central Asian region. When we refer Iran to the Ballet's artistic stylization mean a proper Persian elements in modern choreography, ballet assimilates ideas from Azerbaijan, Armenia, Tajikistan, Afghanistan and Uzbekistan.
Fundamentals of Classical Dance and ballet Iran
Scholars tend to agree to identify the origin of this dance style in Raqs-e Tehrani ( dance of Tehran) in solo improvisation that is both private ( Majles) , which has a prominent role of graceful gestures and expressive gestures, while the lower part of the body plays a role play of the second floor and a mere support. This "improvised solo is indeed Iranian women's solo version of the exhibition we find that common feature among the Armenian population, turkish-Anatolian, Uzbekistan, Tajik and Uighur, until reaching the Eastern Mediterranean and the Balkans.
ballet Iran is therefore the stylization of art and dramatization of items in raqs-and Tehran. Although it has not been a hard coding, similar to that of Western ballet or Indian classical dance, it has none of the limitations of style, attitudes, facial expressions and interpretations of music that are clear to interpret, beyond which it can no longer speak Classical Dance of Iran.
Brief Historical
was especially the dynasties of Safavid (1501-1732) and Qajar (1779-1924) to develop a tradition of court dance in today is inspired by the Ballet Iran:
" The most beautiful women in Persia are devoted to dance (...) the exquisite symmetry of form, their apparent agitation and the licentiousness of their verses are many incentives to a passion - to be contained - needs more philosophy than I possess in general the Persians . "
(ES Waring," A Tour to Sheeraz, London, 1807, p. 55)
Classical Dance Iran seemed to share with the Indian dance degeneration saw these historic forms of choral activities associated with prostitution, the professional dance regained prestige and respectability only with the new court established in the marriage between the Shah Mohammad Reza Pahlavi and Soraya. From that time he developed a professionalism that allowed the formation of real companies. Following the 1979 revolution, this process of regeneration of the dance and the arts connected with it underwent an abrupt halt to the point that today Iran is predominantly a dance dance of the diaspora, no more home grown but they are in Western countries present and active community of Iranian exiles.
The Art of Bazm
oral tradition some performances more refined and specifications were included in the final part of the "private concert" called Bazm . The latter represents an artistic context is often difficult to understand for Westerners. Often translated as "home entertainment", the Bazm was a real concert with its own mystical rituals and a specific spiritual goal, that the sacredness of Bazm was implicitly respected by the audience and the musicians themselves. Connected to this is in fact implementing the concept of hal, meaning "state of mind" that transcends ordinary consciousness, the vehicle is intended for the condition of purity and simplicity pursued by the mystical spiritual concert. In this sense, the dance, which intervened in the final section, on a specific musical performance called Reng (usually in 6 / 8, Hindi " Ranga Bhumi," the "place of dance"), had a cathartic function and to "bring down" the energy of the group.
Hence the idea of \u200b\u200bthe dancer as a mediator between Heaven and Earth , whose performance, again for the oral tradition, is subject to limits imposed by the peculiarities of their context. For example, could express all the feelings, with the exception of the surprise and anger, but not absolutely had to assume a seductive or lascivious, or perform sudden movements and sudden, and should also contain forms of virtuosity. All these are examples of parameters that perhaps today we would find very limiting, unreasonable or bizarre, but they had their own logic on the subtle peculiarities of the context. We are therefore not in a liturgical dance, whose function it is easier to identify (as in the case of Indian classical dance), but a dance that goes beyond the intent of conveying content related to religious myths to be interpreter of a spirituality that regards the state of being and not that of believing. We remember it as the ritual in Islam is incantatory and turns all'incondizionato immediately without going through a period of meditation on a physical or mental shape. The same implementation of sama 'Sufi is in fact a sacred dance that is not designed for the temple ceremonies and that even remembers the man as the only true temple is the heart.
The current evolution of the Ballet of Iran
The performers today are generally agreed to place the Ballet Iran in an evolution which brings a uniqueness to this art form and aesthetic expression common to the arts of music, poetry, calligraphy and illumination, in part interrupted evolution on many historical events. Many companies operating mainly in the U.S., where the higher the concentration of migrants from Iran, using the art theatrical spectacular setting as the main theme, sometimes with good results and sometimes betraying the spirit within and inward, creating a style strongly influenced by our classical ballet, which in historical memory, is based on principles very different from those presented by the Ballet of Iran.
If he wants to preserve its authenticity, it should be pointed out that the mime and refined poetic, subtle gestures, the constant interaction with the public and the origin of intimate performances make Dance Classical Iran unsuited to modern theatrical contexts. This dance was created and grew in the princely courts, in private houses and tea houses flourished in all contexts incomparable with large stage spaces to which we have become accustomed to the modern theater. The prominence of the "state" and expression than the physical movement and dynamism would undoubtedly lost from the tenth row on one of our Italian theater. This makes the Ballet Iran a unique gem and a bit 'elitist in an age of standardization and evolution "circus", a spectacular and "physics" of the dance. This expression is dance, and remains, an exploration of love and education to the many aspects of union and separation expressed by Persian music, as well as all the other arts of this ancient culture.
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